The political arena is tough and hardened — cross a line or the wrong people and payback is a proverbial you know what. Or worse.

Dinesh D’Souza paid a steep price for his mistake: D’Souza asked two people to contribute a total of $20,000 to the New York Senate campaign of Wendy Long, and later reimbursed them. He pled guilty and was sentenced to five years probation, eight months in a halfway house, a $30K fine, eight hours of community service each week, and therapy on a weekly basis.

It’s clear D’Souza was guilty. But it’s equally clear that others have committed exponentially worse campaign transgressions with only a slap on the wrist. Those others, however, had not produced a visual indictment of Obama: D’Souza’s 2012 Movie “2016: Obama’s America” grossed $33 million and revealed the radical, anti-American worldview of Barack Obama. Political reprisals swiftly warned the author/filmmaker: don’t you dare mess with Obama and the Progressive elites.

Hillary’s America opens with a lush scene of a concert hall, replete with a concert Steinway and a jazzy band playing Happy Days Are Here Again, reminiscent of flimflam artists of the past.

D’Souza’s hearing and sentencing are reenacted, with scenes and conversations from his halfway house incarceration interspersed throughout the one hour and forty-seven minute film, underlining lessons learned from seasoned cons.

Dinesh D’Souza recounts the inception of the Democratic Party, founded by ardent racist slave owner, Andrew Jackson. Brutal and historically accurate scenes depict the inhumane treatment of slaves and the direct correlation between the Democratic Party and slavery.

As would be expected, The Left are frenetically pushing back. Dominick Suzanne-Mayer pens with tangible contempt at Consequence of Sound:

D’Souza is here to show you how, despite all these recent claims of racism and homophobia and violence against the Republican Party, it’s actually the Democrats who were slavers and Klansmen and rapists and political bullies and murderers.

“Recent claims,” unfortunately for Suzanne-Mayer and the cadre of Leftist media, are merely claims and not historical truth.

D’Souza tells the sordid story of the Democratic Party replete with dates and quotes.

Hillary’s America covers key historical events whitewashed from the revisionist American history taught in schools. Moviegoers witness the brutal displacement of the Seminoles by then General Andrew Jackson, the viewing of virulently racist Birth of a Nation in the Wilson White House, the direct connection between the Ku Klux Klan and the Democratic Party, the Republican Party as the party of the abolitionists, the connection of eugenicist Margaret Sanger and the Nazis and Planned Parenthood, and Lyndon Baines Johnson’s intrinsic racism. And more…much more.

Dinesh brings to life the true beginnings and character of Saul Alinsky, whose initial activities involved a con perpetrated by willing young anarchists.

And what precisely are Progressives?

One memorable scene in the movie involves Dinesh D’Souza conferring with National Review’s Jonah Goldberg over the inception and mission of Progressives. The takeaway? The absolute goal is to move or progress AWAY from the Founders and the Founding documents.

After painting the detailed backdrop of the Democratic Party and its racist, violent roots, of Planned Parenthood and its racist, eugenicist roots (especially important as Hillary received Planned Parenthood’s Margaret Sanger Award in 2009), and of Saul Alinsky, Hillary’s America chronicles the life story of Hillary Rodham Clinton, her deliberate partnering with William Jefferson Clinton, and their rabid quest for power at any cost.

Hillary’s America takes the viewer on an historical journey, the likes of which has been scrubbed from Progressive and politically correct academia — a journey which unveils the intrinsically rotten legacy of the Democratic Party and its current heroine du jour, Hillary Clinton.

The first-rate cinematography and production, coupled with a wonderful soundtrack, deftly imprint the sights and the historical events, on the audience’s memory.

After over an hour and thirty minutes, the film ends with an artful bit of symmetry: once again the setting is an elegant concert hall with a pianist playing a beautiful Steinway grand. But this time the music is the Star Spangled Banner, begun by a pure-voiced young girl, and finished by a resounding choir and majestic scenes from sea to shining sea.

As the music swelled, a small, middle-age women to my left stood up, and placed her hand over her heart, tears trailing down her face. Afterwards I discovered she was a naturalized American citizen originally from South Korea and unashamedly in love with this country.